Tuesday, 8 May 2012


Post-traumatic growth

May 8, 2012

Greetings!

Over the past while I've had an abundance of emails from artists who are fighting cancer, stroke, stress, macular degeneration, concussion, body-destroying motor accidents and other trauma. Some are just reporting in, others are announcing they are throwing in the towel, while a few others are asking for help. It is, of course, difficult to advise on a one-to-one basis through the clouds, and I don't always feel confident of my guruship but, as usual, I have a few thoughts:

Post-traumatic growth is a relatively new area of psychological study. It deals with the positive changes experienced by some people as a result of a struggle with challenging life circumstances. It's not simply a return to the way things were before the suffering, but the welcome experience of a profound improvement.

The idea that suffering can be channelled to make us stronger runs through the history of philosophies and religions. While most of us no longer believe that artists need to suffer to make good art, we do know that a lot of good art comes from people who have suffered.

Dr. Robin Rosenberg, a clinical psychologist based in Stanford, California, has introduced an interesting method whereby sufferers can grow their way out of trauma. Much like Joseph Campbell's "The Hero with a Thousand Faces" Rosenberg thinks folks can gain strength by following popular superheroes and their stories. We're talking about the sort of characters in the current blockbuster action/violence/heroism movie, "The Avengers"--Hawkeye, Captain America, Black Widow, Hulk and Nick Fury. She also thinks we should pay attention to Superman, Batman, Spiderman and Joker. This is good stuff--I've often thought there's more in comic books than meets the eye.

Dr. Rosenberg's superheroes teach us a variety of life lessons. Among them:

+ We all have alter egos

+ We need to wear the costumes of our heroes

+ Being different can give us power

+ Adversity can be overcome

+ No matter what our abilities, life is frustrating

+ To overcome our fears, we need to run toward danger

Regardless of whether you think Rosenberg's superheroes are beneath your dignity, they do exemplify a simple and direct purpose uncluttered by nuance. Good and evil are sharply defined, and evil is often merely in need of shooting, beheading or blowing up.

Best regards,

Robert

PS: "Every superhero has a mission." (Dr. Robin Rosenberg)

Esoterica: We all know of disabled persons who have overcome and excelled. By accidentally narrowing the range of capabilities, we often build strength in whatever talent or ability may be left. Further, some overcomers I've noticed have a strong sense of fantasy and self-delusion--even delusions of grandeur and superhuman abilities. I personally like the costume idea. As you may know, there are social clubs of dresser-uppers who claim to gain power by hanging out as Spiderwoman and Spiderman, etc. It's becoming apparent that these nut cases are not so nuts. But I wonder if any psychologists or others might comment on my going to the party as Minnie Mouse.


Current Clickback: "Your primal joys" looks at internal and external motivation. Your comments will be appreciated.

Read this letter online and share your thoughts on our strengths in adversity. Live comments are welcome. Direct, illustratable comments can be made at rgenn@saraphina.com

The Art Show Calendar: If you or your group has a show coming up, put an illustrated announcement on The Painter's Keys site. The longer it's up, the more people will see it. Your announcement will be shown until the last day of your show.

The Workshop Calendar: Here is a selection of workshops and seminars laid out in chronological order that will stimulate, teach, mentor, take you to foreign lands or just down the street. Many of these workshops are recommended by Robert and friends. Incidentally, if you are planning a workshop and have photos of happy people working, feel free to send them to us and we'll include a selection in the workshops feature at no extra charge.

The Painter's Post: Every day new material is going into this feature. Links to art info, ideas, inspiration and all kinds of creative fun can be found in this online arts aggregator.

If a friend is trying to subscribe to the Twice-Weekly Letter via Constant Contact, please let her or him know that confirmation is required and to reply to Constant Contact's confirmation email.

You can also follow Robert's valuable insights and see further feedback on Facebook and Twitter

Featured Responses: Alternative to the instant Live Comments, Featured Responses are illustrated and edited for content. If you would like to submit your own for possible inclusion, please do so. Just click 'reply' on this letter or write to rgenn@saraphina.com

Yes, please go ahead and forward this letter to a friend. This does not mean that they will automatically be subscribed to the Twice-Weekly Letter. They have to do it voluntarily and can find out about it by going to The Painter's Keys website.
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(c) Copyright 2012 Robert Genn. If you wish to copy this material to other publications or mail lists, please ask for permission by writingrgenn@saraphina.com. Thanks for your friendship. 

Friday, 4 May 2012


Your primal joys

May 4, 2012

Greetings!

As usual, some of my recent tips baffled a few folks. "Listen to the music that has been within you from your youth," confused Peter Brown of Oakland, CA. "Is this about marching to my inner drummer," he asked, "or the suggestion that I dust off my old Beatles albums?"

Inner drummer, Peter, sorry, not Sgt. Pepper, but it could be. The idea is to tune into and bring to life our earliest interests and passions.

"External" and "Internal" are the two main types of creative motivation. External motivation can be market forces or societal, peer or educational demands. As an example of the latter, some art school friends were recently asked by their instructor to dig around and find subject matter that "upsets or angers you." The result was a classroom full of poverty, privation, humiliation, defeat, famine, war, fanaticism, religious prejudice, gay bashing, familial discord and various other social ills. I'm not saying these are unsuitable subjects for paintings, but they just didn't fit in with the current thoughts of most of these students. "Life is good and I'm happy to be alive," said one. "If I was angry I'd spray-can the boxcars. Right now I want to learn how to paint, not how to protest."
  
Internal motivation, on the other hand, often originates in the purity of our pre-teen youth and is rich with unsullied integrity. An artesian well of surprise and diversity, different folks report the early highs of camping, playing sports, watching wildlife, listening to music, fishing, collecting or even quietly drawing and painting. Evolved artists, in my experience, are able to use these primal joys as guides and triggers for creative direction and satisfaction. In my observation, the results are generally superior to the proscribed demands of others.
  
Internal motivation can be sparked by a few minutes of quiet Zen-like reflection on earlier times and places. Work begins when you answer the question, "What do I want to do today?"
  
The other alternative is to do what other people want. It's also been my observation that most of us rugged individualists would prefer a root canal to doing other people's will.
  
Best regards,

Robert

PS: "Life is your art. An open, aware heart is your camera. A oneness with your world is your film." (Ansel Adams)

Esoterica: B.G. (Before Girls) I had an extensive collection of semi-rotten and weathered roots and gnarls from our nearby forests and beaches. Leaning against the side of our home, my museum pieces were wired to several sheets of dad-provided plywood, until mom happened to notice the carpenter ants. Visualizing the ants' destructive march to our school, hospital and parliament buildings, multiplying like the brooms in Walt Disney's "Fantasia," overwhelming civilization as we knew it, my parents contrived with a local farmer, Albert Eales, to load my museum onto his flat-bed, take it somewhere and burn it. This covert operation hurt my folks as much as it did me, and they apologized forever after. Bugs and all, the objects and their bone-like forms still hang out lovingly in the deep folds of my B.G. soul.


Current Clickback: "Tips for you" offers tips for painterly happiness and success. Your comments will be appreciated.

Read this letter online and share your thoughts on internal and external motivation. Live comments are welcome. Direct, illustratable comments can be made at rgenn@saraphina.com

The Art Show Calendar: If you or your group has a show coming up, put an illustrated announcement on The Painter's Keys site. The longer it's up, the more people will see it. Your announcement will be shown until the last day of your show.

The Workshop Calendar: Here is a selection of workshops and seminars laid out in chronological order that will stimulate, teach, mentor, take you to foreign lands or just down the street. Many of these workshops are recommended by Robert and friends. Incidentally, if you are planning a workshop and have photos of happy people working, feel free to send them to us and we'll include a selection in the workshops feature at no extra charge.

The Painter's Post: Every day new material is going into this feature. Links to art info, ideas, inspiration and all kinds of creative fun can be found in this online arts aggregator.

If a friend is trying to subscribe to the Twice-Weekly Letter via Constant Contact, please let her or him know that confirmation is required and to reply to Constant Contact's confirmation email.

You can also follow Robert's valuable insights and see further feedback on Facebook and Twitter

Peter Brown is at p.w.brown@sbcglobal.net 

Featured Responses: Alternative to the instant Live Comments, Featured Responses are illustrated and edited for content. If you would like to submit your own for possible inclusion, please do so. Just click 'reply' on this letter or write to rgenn@saraphina.com

Yes, please go ahead and forward this letter to a friend. This does not mean that they will automatically be subscribed to the Twice-Weekly Letter. They have to do it voluntarily and can find out about it by going to The Painter's Keys website.
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(c) Copyright 2012 Robert Genn. If you wish to copy this material to other publications or mail lists, please ask for permission by writingrgenn@saraphina.com. Thanks for your friendship. 

Tuesday, 1 May 2012


Tips for you

May 1, 2012

Greetings!

Whenever I offer tips to fellow artists I'm aware that a tip may be valuable to one person and a poison pill to another. Lately, on the speaking circuit, I've been giving a little talk I call, "Two dozen tips for painterly happiness and success." I start by suggesting that we all need to be our own tipsters and some of my so-called tips may not be for everyone. Nevertheless, I have a copy of my current batch printed out to hand around after the event. We've posted this tip-sheet at the top of the current clickback. If you go there, you're on your own.

Curiously, when following other tip-givers who also go from club to club, I often find the eager tip-takers have taken down some wonderfully contradictory tips. Typical is "Before starting, draw your composition carefully," and "Do not draw--go directly to composing with patches of colour and tone." Such are the hazards of tipstering.

That being said, here are three tips you may not have heard before:

1. Rather than go with your first choice in a composition, go with your second choice. Your first is likely to be in your comfort zone, but it is your second choice that will stretch your capabilities and expose new creativity. How to do this? Slowly rotate yourself in a full circle, taking every possibility into consideration. Sort out and at least anticipate the potentials of every angle before you start.

2. Pause frequently during the production of your work and reconsider your options. The simple business of strategizing and thinking ahead can save you a lot of downstream angst. If you find yourself too far into your end-game and not in good shape, courageously strike out an over-rendered passage. This audacious act often frees you up for further improvement.

3. Regularly refill your "Patience Bucket." While fresh, energetic, speedy brushing can be desirable, there is often a time to slow down and let things evolve with a more deliberate, tender and measured stroking. A work-in-progress can be your confederate friend. Let him gently speak to you and don't be socially embarrassed if you gently answer back. Your half-realized friend secretly wants to help you win big.

I should wind this up with one of my all time best tips: "You are your own best tipster."

Best regards,

Robert

PS: "Beware of geeks bearing formulas." (Warren Buffett)

Esoterica: In the "Zingers" section on page 947 of my book The Twice-Weekly Letters are two consecutive items. Ralph wrote, "I like it because you don't give pat little recipes like some other instructors." Then Phyllis wrote, "I really appreciate all the little tips from time to time." Then there's Henry's contribution on page 943: "Stick to tips, Robert, we are tired of your philosophizing all the time. There is no room for philosophy in this business." I love it when people give me tips.


Current Clickback: "The Parachute Principle"looks at how we refresh our 'seeing' eye. Also included is the tip-sheet. Your comments will be appreciated. appreciated.

Read this letter online and share your personal tips. Live comments are welcome. Direct, illustratable comments can be made at 

The Art Show Calendar: If you or your group has a show coming up, put an illustrated announcement on The Painter's Keys site. The longer it's up, the more people will see it. Your announcement will be shown until the last day of your show.

The Workshop Calendar: Here is a selection of workshops and seminars laid out in chronological order that will stimulate, teach, mentor, take you to foreign lands or just down the street. Many of these workshops are recommended by Robert and friends. Incidentally, if you are planning a workshop and have photos of happy people working, feel free to send them to us and we'll include a selection in the workshops feature at no extra charge.

The Painter's Post: Every day new material is going into this feature. Links to art info, ideas, inspiration and all kinds of creative fun can be found in this online arts aggregator.

If a friend is trying to subscribe to the Twice-Weekly Letter via Constant Contact, please let her or him know that confirmation is required and to reply to Constant Contact's confirmation email.

You can also follow Robert's valuable insights and see further feedback on Facebook and Twitter

Featured Responses: Alternative to the instant Live Comments, Featured Responses are illustrated and edited for content. If you would like to submit your own for possible inclusion, please do so. Just click 'reply' on this letter or write to rgenn@saraphina.com

Yes, please go ahead and forward this letter to a friend. This does not mean that they will automatically be subscribed to the Twice-Weekly Letter. They have to do it voluntarily and can find out about it by going to The Painter's Keys website.
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(c) Copyright 2012 Robert Genn. If you wish to copy this material to other publications or mail lists, please ask for permission by writingrgenn@saraphina.com. Thanks for your friendship. 

Friday, 27 April 2012

The Parachute Principle




Greetings!

Yesterday, photographer and digital artist Nikolay Semyonov of Rostov-na-Donu, South Russia wrote, "There are times my eye virtually stops seeing things that might make me press the shutter. This usually happens when I stay too long in the same place or at the end of a long session. My mind seems to get stuck. A period may last quite a long time. Whenever I feel it coming on, I try concentrating on details like webs, spots, stains, twigs, cracks, sunlight patterns, textures, etc. This primes my imagination. With patience, my mind gets activated by human figures, landscapes and other bright things. Do you or your readers know of any other systems?"

Thanks, Nikolay. I'm sure the Brotherhood and Sisterhood will be forthcoming with further systems. I'm in tune with yours--what I call "macro-looking" to refresh the eye when among overly-familiar or tired subject matter.

Here's another similar subterfuge I call "The Parachute Principle." I figured it out a few years ago when arriving for the first time in Brittany. I had flown Vancouver/London, London /Paris and Paris/Brest. After sixteen hours mostly buried in my laptop, I "parachuted" into an unfamiliar environment.

Like a kid on his first visit to Disneyland, the taxi ride to the hotel was a revelation. Apart from the landscape and architecture, the passing humanity, their curious dress-code, their wide-set eyes and physical dispositions, even the way they looked at me was unusual. The cars--Citroens, Renaults, Peugeots--moving quietly on the pristine lanes were from another planet. In those days I was still smoking, and the airport-bought cigar strangely puffed French smoke toward the oddly-shaped head of my Breton driver. I lit and relit that cigar with alien matches.

Why, I wondered, could I not always have this same visual innocence?

I discovered "visual innocence" to be a learnable art. One needs to secretly and privately cultivate the self-delusion of surprise and even dismay. Natural to some, many simply lose it along the way. To renew and refresh, you need to focus on the payoff and regularly give yourself a small mental reboot. With self-management and repetition, even the painting you struggled with on Thursday is simply and effectively brand new on Friday.

Best regards,
  
Robert

PS: "No inspiration comes from nowhere. No invention is based on nothing. You always need to be tuned up and be ready to start receiving the energy you look for." (Nikolay Semyonov)

Esoterica: The Parachute Principle is made palpable on our heli-painting drops. Arriving at high altitudes, we painters exit the craft and huddle together, shielding our eyes against the swirling detritus under the whirling blades. The craft lifts off and away and in 30 seconds is neither seen nor heard. We open our eyes to a silent miracle, a magical diorama not previously seen. The rocks, tarns, patches of snow, the very peaks at our feet and far away are somehow ours and we possess for the first time their beguiling designs. Hastily setting up our easels as if to devour this newness and novelty, we find ourselves asking why all of life cannot be simply and forever like this?


Current Clickback: "Potholes on the mesolimbic pathway"looks at how we feel in the making and giving of our art. Also included are images of Nikolay Semyonov's work. Your comments will be appreciated.

Read this letter online and tell us how you might refresh your eye to the magic. Live comments are welcome. Direct, illustratable comments can be made at rgenn@saraphina.com

The Art Show Calendar: If you or your group has a show coming up, put an illustrated announcement on The Painter's Keys site. The longer it's up, the more people will see it. Your announcement will be shown until the last day of your show.

The Workshop Calendar: Here is a selection of workshops and seminars laid out in chronological order that will stimulate, teach, mentor, take you to foreign lands or just down the street. Many of these workshops are recommended by Robert and friends. Incidentally, if you are planning a workshop and have photos of happy people working, feel free to send them to us and we'll include a selection in the workshops feature at no extra charge.

The Painter's Post: Every day new material is going into this feature. Links to art info, ideas, inspiration and all kinds of creative fun can be found in this online arts aggregator.

If a friend is trying to subscribe to the Twice-Weekly Letter via Constant Contact, please let her or him know that confirmation is required and to reply to Constant Contact's confirmation email.

You can also follow Robert's valuable insights and see further feedback on Facebook and Twitter

Nikolay Semyonov is at nas828@gmail.com 

Featured Responses: Alternative to the instant Live Comments, Featured Responses are illustrated and edited for content. If you would like to submit your own for possible inclusion, please do so. Just click 'reply' on this letter or write to rgenn@saraphina.com

Yes, please go ahead and forward this letter to a friend. This does not mean that they will automatically be subscribed to the Twice-Weekly Letter. They have to do it voluntarily and can find out about it by going to The Painter's Keys website.
Subscribe Free!
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To Unsubscribe or Change Your Email Address, please click Safe Unsubscribe or Update Profile/Email Address links found at the bottom of this email.

(c) Copyright 2012 Robert Genn. If you wish to copy this material to other publications or mail lists, please ask for permission by writingrgenn@saraphina.com. Thanks for your friendship. 

Tuesday, 24 April 2012


Potholes on the mesolimbic pathway

April 24, 2012

Greetings!

My last letter about getting euphoria from painting raised a few issues. Some folks were positively giddy reporting on the giddy positiveness they got from making art. Others told us the "pleasure centres" of their brains were too clogged with painterly problems to get much joy from the act. There were other acts that excited them more, they said, like eating, smoking, skydiving and you know what. One said his "mesolimbic pathway" didn't go through the art field.

Just to put us all on the same trail, the mesolimbic pathway is one of the dopaminergic routes in the brain. The pathway begins in the ventral tegmental area of the midbrain and connects to the limbic system via the nucleus accumbens, the amygdala, and the hippocampus. Now you know.

It's all about what causes us to get our kicks and how those kicks get passed around. Some subscribers pointed to the "add-ons" like "quietness in a noisy world" and "the happiness we give to others." Several mentioned the making of art as a branch of giving, an area that's fascinated me for some time. Knowing that a certain work is going to a worthwhile charity as a fundraiser turns my tiny crank.

Subscriber Gerda Hook of Greenville, South Carolina reported on altruism studies by the US National Institute of Health. "Using functional magnetic resonance imaging (MRI) technology," she wrote, "researchers gave 19 subjects real money ($128) and asked them to make choices about keeping or spending the money.

They were given 64 popular charities to choose from. When they performed the act of giving, two areas of their brains, the mesolimbic and the subgenual, lit up. The mesolimbic is associated with the release of dopamine, a 'feel-good' chemical linked with life-affirming activities like reproduction and eating. The subgenual part of the brain is implicated in behavior involving social relationships and familial attachments--for example, this area is activated when we look at our babies and at romantic partners."

What's interesting in these findings is that both centres play key roles in the evolution of the human race (procreation and family bonds) as well as the daily sustenance of the species. Giving not only feels good, but is also associated with the survival of our species.

Best regards,
  
Robert

PS: "The fragrance always stays in the hand that gives the rose." (Heda Bejar) "Man is never so happy as when he giveth happiness unto another." (Edward G. Bulwer-Lytton)

Esoterica: Catharine Compston of Edmonton, Alberta pointed out that a finished work of art as it marches out into the universe transforms from the pleasure of the artist to the pleasure of others. This thought alone might be the stuff of happiness and high excitement, she figures. At the same time, a few folks wrote of the fear that their art might be substandard and not give pleasure. Along with our "feel good" brains, we of the Brotherhood and Sisterhood are subject to nagging negative thoughts, maybe even neuroses. How do you feel?


Current Clickback: "Painter's high" looks at euphoric painting episodes. Your comments will be appreciated.

Read this letter online and tell us what pleasures you experience in the making and giving of your art. Live comments are welcome. Direct, illustratable comments can be made at rgenn@saraphina.com

The Art Show Calendar: If you or your group has a show coming up, put an illustrated announcement on The Painter's Keys site. The longer it's up, the more people will see it. Your announcement will be shown until the last day of your show.

The Workshop Calendar: Here is a selection of workshops and seminars laid out in chronological order that will stimulate, teach, mentor, take you to foreign lands or just down the street. Many of these workshops are recommended by Robert and friends. Incidentally, if you are planning a workshop and have photos of happy people working, feel free to send them to us and we'll include a selection in the workshops feature at no extra charge.

The Painter's Post: Every day new material is going into this feature. Links to art info, ideas, inspiration and all kinds of creative fun can be found in this online arts aggregator.

If a friend is trying to subscribe to the Twice-Weekly Letter via Constant Contact, please let her or him know that confirmation is required and to reply to Constant Contact's confirmation email.

You can also follow Robert's valuable insights and see further feedback on Facebook and Twitter

Featured Responses: Alternative to the instant Live Comments, Featured Responses are illustrated and edited for content. If you would like to submit your own for possible inclusion, please do so. Just click 'reply' on this letter or write to rgenn@saraphina.com

Yes, please go ahead and forward this letter to a friend. This does not mean that they will automatically be subscribed to the Twice-Weekly Letter. They have to do it voluntarily and can find out about it by going to The Painter's Keys website.
Subscribe Free!
Your name and email
address will be kept safe.
To Unsubscribe or Change Your Email Address, please click Safe Unsubscribe or Update Profile/Email Address links found at the bottom of this email.

(c) Copyright 2012 Robert Genn. If you wish to copy this material to other publications or mail lists, please ask for permission by writingrgenn@saraphina.com. Thanks for your friendship. 

Saturday, 21 April 2012

Monday, 16 April 2012



Ten-Minute Art School Course
12 Things You Were Not Taught in School About Creative Thinking
1.     You are creative. The artist is not a special person, each one of us is a special kind of artist. Every one of us is born a creative, spontaneous thinker. The only difference between people who are creative and people who are not is a simple belief. Creative people believe they are creative. People who believe they are not creative, are not. Once you have a particular identity and set of beliefs about yourself, you become interested in seeking out the skills needed to express your identity and beliefs. This is why people who believe they are creative become creative. If you believe you are not creative, then there is no need to learn how to become creative and you don’t. The reality is that believing you are not creative excuses you from trying or attempting anything new. When someone tells you that they are not creative, you are talking to someone who has no interest and will make no effort to be a creative thinker.
2.      Creative thinking is work. You must have passion and the determination to immerse yourself in the process of creating new and different ideas. Then you must have patience to persevere against all adversity. All creative geniuses work passionately hard and produce incredible numbers of ideas, most of which are bad. In fact, more bad poems were written by the major poets than by minor poets. Thomas Edison created 3000 different ideas for lighting systems before he evaluated them for practicality and profitability. Wolfgang Amadeus Mozart produced more than six hundred pieces of music, including forty-one symphonies and some forty-odd operas and masses, during his short creative life. Rembrandt produced around 650 paintings and 2,000 drawings and Picasso executed more than 20,000 works. Shakespeare wrote 154 sonnets. Some were masterpieces, while others were no better than his contemporaries could have written, and some were simply bad.
3.      You must go through the motions of being creative. When you are producing ideas, you are replenishing neurotransmitters linked to genes that are being turned on and off in response to what your brain is doing, which in turn is responding to challenges. When you go through the motions of trying to come up with new ideas, you are energizing your brain by increasing the number of contacts between neurons. The more times you try to get ideas, the more active your brain becomes and the more creative you become. If you want to become an artist and all you did was paint a picture every day, you will become an artist. You may not become another Vincent Van Gogh, but you will become more of an artist than someone who has never tried.
4.      Your brain is not a computer. Your brain is a dynamic system that evolves its patterns of activity rather than computes them like a computer. It thrives on the creative energy of feedback from experiences real or fictional. You can synthesize experience; literally create it in your own imagination. The human brain cannot tell the difference between an “actual” experience and an experience imagined vividly and in detail. This discovery is what enabled Albert Einstein to create his thought experiments with imaginary scenarios that led to his revolutionary ideas about space and time. One day, for example, he imagined falling in love. Then he imagined meeting the woman he fell in love with two weeks after he fell in love. This led to his theory of acausality. The same process of synthesizing experience allowed Walt Disney to bring his fantasies to life.
5.      There is no one right answer. Reality is ambiguous. Aristotle said it is either A or not-A. It cannot be both. The sky is either blue or not blue. This is black and white thinking as the sky is a billion different shades of blue. A beam of light is either a wave or not a wave (A or not-A). Physicists discovered that light can be either a wave or particle depending on the viewpoint of the observer. The only certainty in life is uncertainty. When trying to get ideas,  do not censor or evaluate them as they occur. Nothing kills creativity faster than self-censorship of ideas while generating them. Think of all your ideas as possibilities and generate as many as you can before you decide which ones to select. The world is not black or white. It is grey.
6.      Never stop with your first good idea. Always strive to find a better one and continue until you have one that is still better. In 1862, Phillip Reis demonstrated his invention which could transmit music over the wires. He was days away from improving it into a telephone that could transmit speech. Every communication expert in Germany dissuaded him from making improvements, as  they said the telegraph is good enough. No one would buy or use a telephone. Ten years later, Alexander Graham Bell patented the telephone. Spencer Silver developed a new adhesive for 3M that stuck to objects but could easily be lifted off. It was first marketed as a bulletin board adhesive so the boards could be moved easily from place to place. There was no market for it. Silver didn’t discard it. One day Arthur Fry, another 3M employee, was singing in the church’s choir when his page marker fell out of his hymnal. Fry coated his page markers with Silver’s adhesive and discovered the markers stayed in place, yet lifted off without damaging the page. Hence the Post-it Notes were born. Thomas Edison was always trying to spring board from one idea to another in his work. He spring boarded his work from the telephone (sounds transmitted) to the phonograph (sounds recorded) and, finally, to motion pictures (images recorded).
7.      Expect the experts to be negative. The more expert and specialized a person becomes,  the more their mindset becomes narrowed and the more fixated they become on confirming what they believe to be absolute. Consequently, when confronted with new and different ideas,  their focus will be on conformity. Does it conform with what I know is right? If not, experts will spend all their time showing and explaining why it can’t be done and why it can’t work. They will not look for ways to make it work or get it done because this might demonstrate that what they regarded as absolute is not absolute at all. This is why when Fred Smith created Federal Express, every delivery expert in the U.S. predicted its certain doom. After all, they said, if this delivery concept was doable, the Post Office or UPS would have done it long ago.
8.      Trust your instincts. Don’t allow yourself to get discouraged. Albert Einstein was expelled from school because his attitude had a negative effect on serious students; he failed his university entrance exam and had to attend a trade school for one year before finally being admitted; and was the only one in his graduating class who did not get a teaching position because no professor would recommend him. One professor said Einstein was “the laziest dog” the university ever had. Beethoven’s parents were told he was too stupid to be a music composer. Charles Darwin’s colleagues called him a fool and what he was doing “fool’s experiments” when he worked on his theory of biological evolution. Walt Disney was fired from his first job on a newspaper because “he lacked imagination.” Thomas Edison had only two years of formal schooling, was totally deaf in one ear and was hard of hearing in the other, was fired from his first job as a newsboy and later fired from his job as a telegrapher; and still he became the most famous inventor in the history of the U.S.
9.      There is no such thing as failure. Whenever you try to do something and do not succeed, you do not fail. You have learned something that does not work. Always ask “What have I learned about what doesn’t work?”, “Can this explain something that I didn’t set out to explain?”, and “What have I discovered that I didn’t set out to discover?” Whenever someone tells you that they have never made a  mistake, you are talking to someone who has never tried anything new.
10.   You do not see things as they are; you see them as you are. Interpret your own experiences. All experiences are neutral. They have no meaning. You give them meaning by the way you choose to interpret them. If you are a priest, you see evidence of God everywhere. If you are an atheist, you see the absence of God everywhere. IBM observed that no one in the world had a personal computer. IBM interpreted this to mean there was no market. College dropouts, Bill Gates and Steve Jobs, looked at the same absence of personal computers and saw a massive opportunity. Once Thomas Edison was approached by an assistant while working on the filament for the light bulb. The assistant asked Edison why he didn’t give up. “After all,” he said, “you have failed 5000 times.” Edison looked at him and told him that he didn’t understand what the assistant meant by failure, because, Edison said, “I have discovered 5000 things that don’t work.” You construct your own reality by how you choose to interpret your experiences.
11.   Always approach a problem on its own terms. Do not trust your first perspective of a problem as it will be too biased toward your usual way of thinking. Always look at your problem from multiple perspectives. Always remember that genius is finding a perspective no one else has taken. Look for different ways to look at the problem. Write the problem statement several times using different words. Take another role, for example, how would someone else see it, how would Jay Leno, Pablo Picasso, George Patton see it? Draw a picture of the problem, make a model, or mold a sculpture. Take a walk and look for things that metaphorically represent the problem and force connections between those things and the problem (How is a broken store window like my communications problem with my students?) Ask your friends and strangers how they see the problem. Ask a child. How would a ten year old solve it? Ask a grandparent. Imagine you are the problem. When you change the way you look at things, the things you look at change.
12.   Learn to think unconventionally. Creative geniuses do not think analytically and logically. Conventional, logical, analytical thinkers are exclusive thinkers which means they exclude all information that is not related to the problem. They look for ways to eliminate possibilities. Creative geniuses are inclusive thinkers which mean they look for ways to include everything, including things that are dissimilar and totally unrelated. Generating associations and connections between unrelated or dissimilar subjects is how they provoke different thinking patterns in their brain.  These new patterns lead to new connections which give them a different way to focus on the information and different ways to interpret what they are focusing on. This is how original and truly novel ideas are created. Albert Einstein once famously remarked “Imagination is more important than knowledge. For knowledge is limited to all we now know and understand, while imagination embraces the entire world, and all there ever will be to know and understand.”
Creativity is paradoxical. To create, a person must have knowledge but forget the knowledge, must see unexpected connections in things but not have a mental disorder, must work hard but spend time doing nothing as information incubates, must create many ideas yet most of them are useless, must look at the same thing as everyone else, yet see something different, must desire success but embrace failure, must be persistent but not stubborn, and must listen to experts but know how to disregard them.